Best characters in Tamil movies

[madhus369]

Apart from actors performing to their best abilities, often it is the character that helps the actor. A lot of the credit should go to the screenplay writer and the director who provide the framework for the actor to express himself (or herself) or, in some cases make a mess of it as well. Can you think of some of the characters that stood out in Tamil movies (some, even in spite of the actors messing it up!) ?

Here are some starters (in no order):
1. Parthiban's character in that Soundarya movie where she runs away from PrakashRaj (I forgot the name of the movie)
2. Elumichambazham Vaithi in Thillana Mohanambal
3. Sathyaraj's character in Vedham Pudhidhu
4. Both Parattai & Chappani in 16 Vayathinile

[raaja_rasigan]

AMAIDHIPADAI - Amavasai @ Nagaraja chozan MA

[Movie Cop]

Alex Pandian (Moondru Mugam)
Chaplin Chellapa (Punnagai Mannan)
Karthik's Character in Mouna Ragam

[madhus369]

Even though it was the hero role in Anbe Sivam, the character was memorable.

Another one: In spite of Madhubala doing the role, the character of 'Roja' was really something.

Nambiar in 'Thooral Ninnu Pochu'?
Indira (even though badly acted) in 'Indira' ?

[raaja_rasigan]

Captain - puratchi kalaignar:

Prabakaran - Captain Prabakaran

Honest Raj - Pulanvisaranai

AC Panneer selvam - sathriyan

koundaraiyya - Chinna gounder

Professor Ramana - ramana

------------------------------------

Goundamni:

All in all azhaguraja - vaidhegi kathirundhal

subbiah - Indian

[tvsankar]

Saritha - Achamilai Achamilai

Revathi - Pudhumai Penn

Rajini - Bhuvana oru Kelvi kuri

Kavari Maan film il Sivaji in fahter Character

[MADDY]

Radha character in Mudhal mariyadhai :notworthy: - ULTIMATE
Janakaraj's character in Nayagan - if u notice, he occupies the max screen time next only to kamal in that film 8-)
Arvindswamy's character in Minsara Kanavu - irony defined 8-)
neelambari in Padayappa :D - if ravan hadnt been powerful, Ram wudnt have been called great - u need strong villains to glorify protaganist.....

[ajaybaskar]

Chithappu in Paruthi Veeran
Chithappa in Kaadhal
Packiaraj in Naan sigappu manidhan
Sivaji in Dhaavani Kanavugal
Kamal in Sathi leelavathi

[RATHEESHAJITH]

PARATTA & CHAPPANI --- 16 VAYATHINILE

SUBRAMANI --- CITIZEN

CHIYAAN --- SETHU

ANBU SELVAN --- KAAKKA KAAKKA

MOTTA ---- MANMADHAN

[madhus369]

Chithappu in Paruthi Veeran
Chithappa in Kaadhal
Packiaraj in Naan sigappu manidhan
Sivaji in Dhaavani Kanavugal
Kamal in Sathi leelavathi

The last one is a great example. While the movie had a hero, heroine(s) and other lot, the short time that Kamal spends on screen is what makes this a candidate for repeat viewing.

I loved it for the same reason that Nagesh completely overshadows Kamal in 'Nammavar'.

Others that come to mind:
1. MRR in 'Raththakanneer' (fantastic satire)
2. Rangarao in 'Sabhash Meena'
3. Chandrababu in 'Sabhash Meena'
4. Nedumudi Venu in 'Indian'
5. Nasser in 'Nayagan'
6. Nasser in 'Devar Magan'
7. Rajini (Johnny) in 'Johnny'

[Kollywoodfan]

Karan: Kannethirey Thondrinal
Sneha: Autograph
Prakash Raj: Azhagiya Theeye

[Kumar]

I was surprised at Dhanush's performance in Pudhu Petai. I found the character Kumar very intriguing and complex; not completely likeable, but somehow very mesmerising.

[Raikkonen]

Raghuvaran - Aaha, Run, Love Today, Amarkkalam

He is probably the most criminally underused talent in the industry..

[madhus369]

Raghuvaran - Aaha, Run, Love Today, Amarkkalam

He is probably the most criminally underused talent in the industry..
Probably the most underused 'criminal' talent, considering that most of his roles of the villain kind :)

Another character that comes to mind is:
Nandita Das in 'Kannathil Muththamittal'

[crajkumar_be]

I was surprised at Dhanush's performance in Pudhu Petai. I found the character Kumar very intriguing and complex; not completely likeable, but somehow very mesmerising.
:exactly:

[Querida]

I loved Suhashini's and SPB character in "Manathil Urudhi Vendum"

Sivakumar's wife in "Sindhubhiravi"


Janakaraj's character in Kadhal Oviyam...he could have been such a demanding character but he wasn't...
quite the opposite to his character in Guna...pure wile

Joythika's character in "Mozhi"
I liked how mischeivious and ironically clueless Asin was in "Ghajini"

Of course there are certain stock characters who carry their personality into various films like Prakash Raj, Raghuvaran, Visu, RajKiran, Rajesh, Ratharavi are a number i can remember

oh but I my heart goes out to the character that Sujatha and Lakshmi in " Sila Nerangalil Sila Manithargal" and another movie "Sirai" in which Lakshmi abandoned by her priest husband after being raped goes to live with the rapist (Rajesh) as the best revenge..

[littlemaster1982]

I loved Suhashini's and SPB character in "Unnal Mudiyam Thambi"



Suhasini and SPB in "Unnal Mudiyum Thambi"???? :roll:

Do you mean to say "Manathil Urudhi Vendum? :)

[Querida]

I loved Suhashini's and SPB character in "Unnal Mudiyam Thambi"



Suhasini and SPB in "Unnal Mudiyum Thambi"???? :roll:

Do you mean to say "Manathil Urudhi Vendum? :)

ahhhhh yeah :oops: ...sorry was listening to songs from UMT when i was writing :roll: silly me...sigh....thanks for the correction :)

[P_R]

I was surprised at Dhanush's performance in Pudhu Petai. I found the character Kumar very intriguing and complex; not completely likeable, but somehow very mesmerising. So you finally managed to see it :-)

[Roshan]

I was surprised at Dhanush's performance in Pudhu Petai. I found the character Kumar very intriguing and complex; not completely likeable, but somehow very mesmerising. So you finally managed to see it :-)

But you have not managed to see VV :evil: :lol:

[P_R]

I was surprised at Dhanush's performance in Pudhu Petai. I found the character Kumar very intriguing and complex; not completely likeable, but somehow very mesmerising. So you finally managed to see it :-)

But you have not managed to see VV :evil: :lol: :mrgreen: Waiting for Indhiya tholaikkAtchigaLil.

btw AvargaL and Nizhal NijamAgiradhu are out on Moser Baer. Watched the latter last night. Sanjeevi is perhaps the best KB-Kamal character.

[Roshan]

I was surprised at Dhanush's performance in Pudhu Petai. I found the character Kumar very intriguing and complex; not completely likeable, but somehow very mesmerising. So you finally managed to see it :-)

But you have not managed to see VV :evil: :lol: :mrgreen: Waiting for Indhiya tholaikkAtchigaLil.

It doesn't deserve that kind of a treatment :( :evil:


btw AvargaL and Nizhal NijamAgiradhu are out on Moser Baer. Watched the latter last night. Sanjeevi is perhaps the best KB-Kamal character.

One of the best I would say. His role in AvargaL also falls into the 'best' category under KB :) Looking forward to hearing more about that role from you.

[equanimus]

I was surprised at Dhanush's performance in Pudhu Petai. I found the character Kumar very intriguing and complex; not completely likeable, but somehow very mesmerising. So you finally managed to see it :-)

But you have not managed to see VV :evil: :lol: :mrgreen: Waiting for Indhiya tholaikkAtchigaLil.

btw AvargaL and Nizhal NijamAgiradhu are out on Moser Baer. Watched the latter last night. Sanjeevi is perhaps the best KB-Kamal character.

Prabhu Ram,
That's a good pick.

Sanjeevi is an interesting character indeed. His character is unlike any of the KB-male archetypes (and therefore rather non-pivotal in the film) though. KB's frankness in the way he depicts man-woman love makes the relationship between him and Sujatha interesting.

All said, AvargaL (and Sujatha's character in turn) is probably the most effective among the women-centric KB films.

[equanimus]

btw AvargaL and Nizhal NijamAgiradhu are out on Moser Baer. Watched the latter last night. Sanjeevi is perhaps the best KB-Kamal character.

Prabhu Ram,
That's a good pick.

Sanjeevi is an interesting character indeed. His character is unlike any of the KB-male archetypes (and therefore rather non-pivotal in the film) though. KB's frankness in the way he depicts man-woman love makes the relationship between him and Sujatha interesting.

All said, AvargaL (and Sujatha's character in turn) is probably the most effective among the women-centric KB films.

Oops! I was talking about Janardhan of AvargaL, and not Sanjeevi of Nizhal NijamAgirathu.

[Roshan]

All said, AvargaL (and Sujatha's character in turn) is probably the most effective among the women-centric KB films.

True but for some reason I liked the Mother-in-Law character more.

"enakku en magan mAthiri ayOkkiyangaLaiyum pidikkAthu, unna mAthiri kOzhaingaLaiyum pidikkAthu" :clap: :notworthy:

[P_R]

It doesn't deserve that kind of a treatment Sad Evil or Very Mad DVD vaangum aLavukku munaippu illai :-) Recently watered down some of my no-thiruttu-DVD principle and bought Aboorva SahOdarargaL. What-a-buy ! I really don't get what is holding Rajkamal back. I would pay ten times the price to get an original good quality DVD of AS (and many other Raajkamal films).

Sanjeevi is an interesting character indeed. His character is unlike any of the KB-male archetypes (and therefore rather non-pivotal in the film) though. KB's frankness in the way he depicts man-woman love makes the relationship between him and Sujatha interesting. You mean SumitrA. The movie itself is lovely. ShobA's is the best debut in Tamil Films ever. Anumanthu is particularly impressive. When he quits work at Chalam's and comes to Sanjeevi he says: "manasukku pidikkalainga"......you can almost sense his pain. Much more than the previous scene where he has the signature twisted mouth reaction. Mouli (quite typically) suspects he is heartbroken at Thilakam's rejection and gives him some gyAn about persistence. Anumanthu replies: "ungaLukku onnum theriyAdhunga".

Both true and also irnoic, given he is the village-idiot who definitionally "knows" the least. The Shoba-Anumanthu sequences second half makes me realize that somewhere inside I am also a sucker for melodrama :-) Even fringe characters like Mouli and Sundaribai are interesting.

KB is always more than what meets the eye. After kAsi (anumanthu) gets hit by Thilakam for trying to hug her the only witness is Chalam. She explains to Indhumathi out of earshot that it was a veri-naai that came and she chased it away.

In the scene where Kasi sees Chalam and Thilakam emerge from the room, the silence is broken only by the howling/barking dogs.

Later when Kasi says Sanjeevi has given him a house , Indhumadhi caustically says:
"avar aasai naayagikku veedu koduthirukkAr..nee verum kaaval kaakura naai"
as usual he nods in half-hearing and Indhumathi has to repeat
"nee verum kaaval kaakkura..."
decency hits her now and she check herself but kAsi completes the sentence for her in his emotionless manner.
"naainnu solreengaLA"


No wordy melodrama. Just showing people for what they are, beyond even what they think they are. No wonder Kamal, in a recent interview said, to him KB is always a cut above the rest.

[equanimus]

All said, AvargaL (and Sujatha's character in turn) is probably the most effective among the women-centric KB films.

True but for some reason I liked the Mother-in-Law character more.

"enakku en magan mAthiri ayOkkiyangaLaiyum pidikkAthu, unna mAthiri kOzhaingaLaiyum pidikkAthu" :clap: :notworthy:

Roshan,
That was taking only the lead roles (of only the "heroine" subjects, namely Arangetram, AvaL Oru Thodarkadhai, AvargaL; and later, Agni SAtchi etc.; Nizhal NijamAgiradhu, Sindhu Bhairavi and the like excluded!) into consideration.

The former two films are much sinister instances of what's probably my biggest "problem" with KB. (I find almost every KB film problematic in one way or the other.) The way the protagonist's "doom" is contrived in the film.

Coming to think of it, I too like the mAmiyAr's character more. And, her character brings out one of the most interesting parts in the movie for me. AvargaL also contrives a bad turn in Anu's life, but the mAmiyAr character points out Anu's failing very effectively (like in that piece of dialogue that you just quoted).

[equanimus]

It doesn't deserve that kind of a treatment Sad Evil or Very Mad DVD vaangum aLavukku munaippu illai :-) Recently watered down some of my no-thiruttu-DVD principle and bought Aboorva SahOdarargaL. What-a-buy ! I really don't get what is holding Rajkamal back. I would pay ten times the price to get an original good quality DVD of AS (and many other Raajkamal films).

Absolutely! It's only a pity that we're reduced to tramps who have to chance upon a DVD/VCD copy (of these great films) to grab it for ourselves. Buying in that very manner, now, I've two DVD copies (just in case the print was better, you see) and a VCD copy of the same film.

[equanimus]

Sanjeevi is an interesting character indeed. His character is unlike any of the KB-male archetypes (and therefore rather non-pivotal in the film) though. KB's frankness in the way he depicts man-woman love makes the relationship between him and Sujatha interesting. You mean SumitrA. The movie itself is lovely.

I was talking about AvargaL actually, in which Kamal's role was not really pivotal, but still the depiction of the relationship was honest. Janardhan is a nice guy who'll go out of his way to help others. Usually in films, these kind of "good-hearted samaritan" characters are blown out of proportions and any lady (most of all, the protagonist) will be shown to be attracted to him if she's not already in a relationship. But, here, Janardhan's character is put in its place. The other colleague-cum-friend of Anu in the film even calls him a "sariyAna iLicha vAyi" (or something to that effect) when they go for a movie and Janardhan gives away the tickets he has to them and walks out without watching the film. Anu's spontaneous reaction is a smile when she hears her friend say that, but quickly shows platonic sensitivity, by saying that he's actually a very nice person and they shouldn't be talking like that.


Both true and also irnoic, given he is the village-idiot who definitionally "knows" the least. The Shoba-Anumanthu sequences second half makes me realize that somewhere inside I am also a sucker for melodrama :-) Even fringe characters like Mouli and Sundaribai are interesting.

KB is always more than what meets the eye.

I agree. KB is an ironist in the true sense, even if he overused it in many of his films. The reaps of irony he brings out even at the expense of his rebellious leads (which is self-critical in many ways, as KB's leads are all about his ideals) are much commendable. Like in Varumaiyin Niram Sivappu when Rangan (Kamal) quotes Bharathi and starts to walk out. Dileep asks, "enga dA pOra?" "Jagaththa azhikka thAn!" Thambu (S. Ve. Shekar) quips.

[equanimus]

And, yeah, Nizhal NijamAgirathu is a lovely movie; I am not sure (I've to revisit) but I think I prefer it to AvargaL. The former is more even and works really well on the whole. The latter has some powerful moments but also has the usual KB-pitfalls. (The former is of course a remake of a Telugu film, Chilakamma Cheppindi. Isn't AvargaL also a remake of a Malayalam film?)

For all my complaints about KB, I find him a very interesting filmmaker (even keeping aside the historically significant place for him in the lineage of Tamil cinema which is undeniable). And (to make a controversial claim), I much prefer him to Bharathiraja whose historic significance far outdoes the intrinsic merits of his films.

[thilak4life]

No wonder Kamal, in a recent interview said, to him KB is always a cut above the rest.

Yeah, but I disagree with this...

NN is my favorite KB film which is remotely close to being somewhat 'feminist', while most of his other films are :roll:


I agree. KB is an ironist in the true sense, even if he overused it in many of his films. The reaps of irony he brings out even at the expense of his rebellious leads (which is self-critical in many ways, as KB's leads are all about his ideals) are much commendable.

:exactly:

All said, I agree here:


I find him a very interesting filmmaker (even keeping aside the historically significant place for him in the lineage of Tamil cinema which is undeniable). And (to make a controversial claim), I much prefer him to Bharathiraja whose historic significance far outdoes the intrinsic merits of his films.

But again, BR and KB are both equally unimpressive, and equally important in their own ways ofcourse..

[thilak4life]

The former is of course a remake of a Telugu film, Chilakamma Cheppindi. Isn't AvargaL also a remake of a Malayalam film?

NN is also based on a Malayalam film. KB wrote the script for the telugu film (where Rajini plays Kamal's role)

[joe]

Saravanan in paruthi Veeran :thumbsup:

[P_R]

Dileep asks, "enga dA pOra?" "Jagaththa azhikka thAn!" Thambu (S. Ve. Shekar) quips. :D

And, yeah, Nizhal NijamAgirathu is a lovely movie; I am not sure (I've to revisit) but I think I prefer it to AvargaL. I was actually sure mine was AvargaL till I revisited NN this weekend. This is the first time I saw the movie from start to finish. Some parts had the KBisms that makes one cringe but some parts were extremely well made, had a sort of literary quality to it (it is based on a MalayAlam novel: Adimakal)

When Thilagam admires herself in the mirror and steps away we see Chalam in the background (as visual as one can get -plenty more in this film). Chalam compliments her looks in a veiled manner: "indha pudavai unakku romba nallA irukkE !".
And Thilakam's response is : "pudavai nallA irukku illai ?". How much of that innocence is real is left to the viewer.

Later in the movie KAsi, in all honesty says directly: " Thilakam, kuzhandhai piRandhadhukku appuram nee romba azhagA irukke". Thilakam is a bit wary. Shoba's tentative and even slightly scared expression in response to this comment is lovely.

The movie makes its own statements about the respect honesty ends up getting. Each romantic angle is uniquely impressive. The similarities across the dissimilar and the intellectual learning from the idiot.

KAsi asks Sanjeevi for 25p to buy flowers for Thilagam ("katti pidichEn adichidichi".......Sanjeevi: "avanga appidi thaan seyvAnga" :D) . It is after this that Sanjeevi apologises to Indhumathi regarding the incident they both choose to look the other way about - a cigarette lighter -it can't get more absurd than that !

[equanimus]

While I do think I prefer nizhal nijamAgirathu to avargaL (in my last post, I had originally written "I definitely prefer it to AvargaL," only to take back the definitiveness on second thought as I thought I should revisit these films :)), I can't say it's my single favourite KB film.

One, much interesting as his films are, most often there are elements (like the moralistic tone, unreserved over-the-top-ness -- as subtle as a sledgehammer, the contrivances etc.) in them that underwhelms me. On that note, I must say, abUrva rAgangaL steers clear off his sledgehammer. The plot is wild alright, but the treatment is bold (I wonder why some critics find him to be a "keeper of the middle-class morality!" Is it because he alienated other classes as his milieu was almost always the urban middle-class -- mostly the Brahmin milieu?), the rendering is sensitive and serene (even when the viewer is told about the connection between the two May-December romances in the film, it's without any fuss!). The way KB weaves the tragicomic elements is also good to watch.

Two, it's the irreverent wit and the biting humour that I like the most in KB's films. That is why a movie like poikkAl kudhirai is a delight to watch. Vaali is a total riot. (Another aspect in which I think KB is well superior to Bharathiraja. Unless enacted by well-groomed actors, acting is uniformly atrocious in Bharathiraja's films. In KB's films, acting may be over the top, but often it's very effective.) It's adapted from Crazy Mohan's Marriage Made In Saloon alright, but much of the film is quintessentially KB.

Pardon the digression.

[thilak4life]

Pardon the digression.

Oh, that alone makes the discussion worthy IMHO :)


abUrva rAgangaL steers clear off his sledgehammer.

But it's badly made as a film from what I remember..


I wonder why some critics find him to be a "keeper of the middle-class morality!" Is it because he alienated other classes as his milieu was almost always the urban middle-class -- mostly the Brahmin milieu?)

I disagree too. I rarely find the question of "morality" in his films (although he often plays with it), he plays with the character's psyche within the framework of their social class - but in the end, his contrived ways of handling 'em in different situations are often repulsive. No question that he oversteps the mores, but it becomes ultradramatic with his treatment..

[Roshan]

I disagree too. I rarely find the question of "morality" in his films (although he often plays with it), he plays with the character's psyche within the framework of their social class

Very well said !!



- but in the end, his contrived ways of handling 'em in different situations are often repulsive. No question that he oversteps the mores, but it becomes ultradramatic with his treatment..

I disagree here. Sometimes (Eg: Kalki :x ) it happens but not often. But I need to say that I don't exactly get what you intend here regarding the character/characterisation and being repulsive. Good if you can come up with examples.

But I am reminded of one his interviews, in which he said marriage is NOT the ONLY solution of a happy life (contrary to the usual subcontinent mentality), when he was questioned about 'treatment' and abrupt endings of 'AvargaL' 'Manathil URuthi VEndum', Sindu Bairavi et al.. At the same time he confessed about the compromises he had to make with movies like 'ArangEtram', where he had to go according to the 'expectation' of the 'then' audience (ippo mattum enna perusA vAzhuthunnu neenga kEkkalaam :wink: ) , in order to make it commercially viable.

[equanimus]

Pardon the digression.

Oh, that alone makes the discussion worthy IMHO :)

Now that you say so... :)



abUrva rAgangaL steers clear off his sledgehammer.

But it's badly made as a film from what I remember..

It's a well-made film, in my view. I think it's the premise that put off many people.



I wonder why some critics find him to be a "keeper of the middle-class morality!" Is it because he alienated other classes as his milieu was almost always the urban middle-class -- mostly the Brahmin milieu?)

I disagree too. I rarely find the question of "morality" in his films (although he often plays with it), he plays with the character's psyche within the framework of their social class - but in the end, his contrived ways of handling 'em in different situations are often repulsive. No question that he oversteps the mores, but it becomes ultradramatic with his treatment..

The denouements of his films has brought up this criticism, as far as I see. But, the denouements are played out as great tragedies. It's only obvious where director's authorial position lies.

For the uninitiated, I'm talking about one of the major criticisms that film critics and historians place on Balachander's films. In his book Eye Of The Serpent, Theodore Baskaran writes,



His films are set in contemporary times, they deal mostly with urban middle class issues and, in the process, reinforce the value systems and beliefs held by this class. The endings of his films in particular, conform to existing middle class mores and sense of morality.


Now, it's the "reinforcing the value systems" part that I categorically disagree with. There's simply nothing sacred to KB, not even his own set of beliefs. He satirizes, lampoons all mores and conducts, relationships etc. He is alleged to being elitist in his films in the strong influences of varaious arts (music, dance etc.) in his films (something that seems straight of Thi. Janakiraman), but even here, the artists are not glorified at all. They're also failing men and women in his films. A believer himself, but he doesn't think twice to lampoon organized religion. All said, I think he possesses a very "balanced" intellect, for the lack of a better word.

As for his endings conforming to existing middle class mores, it's true for many of his films, and I think the idea is to end the film on a realistic note (not to forget that these films play out as nothing but tragedies, and that he reproaches the society like there's no tomorrow!); but often, he has had unabashed "fantasy" endings as well. I am not sure which I find less appealing, because both of them are played out in an over-the-top fashion, and come off as unrealistic.

[P_R]

as subtle as a sledgehammer:D

Unless enacted by well-groomed actors, acting is uniformly atrocious in Bharathiraja's films. In KB's films, acting may be over the top, but often it's very effective.) And atrocious is an understatement :-) Some of his films make me lose respect for the other ones. Somehow I don't feel that way with KB. His post stage-transfers but still b/w period had many good films.
his contrived ways of handling 'em in different situations are often repulsive. I'd say somewhere between disappointing and repulsive. One source of irritation is the look-mom-I-am-so-different kind of characterization. The characters are strong and different and face problems with a heavy dose of self-conscious puratchi.

Even during Thilagam's introduction in NN we hear the voice-over: "ivaL oru vithyAsamAna guNachchiththiram" :evil:

[equanimus]

But I am reminded of one his interviews, in which he said marriage is NOT the ONLY solution of a happy life (contrary to the usual subcontinent mentality), when he was questioned about 'treatment' and abrupt endings of 'AvargaL' 'Manathil URuthi VEndum', Sindu Bairavi et al.. At the same time he confessed about the compromises he had to make with movies like 'ArangEtram', where he had to go according to the 'expectation' of the 'then' audience (ippo mattum enna perusA vAzhuthunnu neenga kEkkalaam :wink: ) , in order to make it commercially viable.

Roshan,
This (http://brangan.easyjournal.com/entry.aspx?eid=3085511) is the interview you're talking about. A very frank interview. The point I took home with this interview was his saying that his transition towards women-centric subjects was "a matter of convenience." Honestly, I was taken aback. I've come to believe since then that he may have never even intended to make real-feminist films (for me, his films were never feminist in the true sense).

[thilak4life]

Roshan,

Is it overstepping the mores? Not just Kalki, it has always been the case from "Abhoorva Raagangal", "Sindhu bhairavi", "Avargal", etc - But all these and more has often been ultradramatic with the characters being symbols of Masochism, exhibiting an attitude of superior virtue while being stereotyped and contrived with the director's treatment...

[thilak4life]

Rangan's interview is one of the best. As always, he cleverly calls it "women-centric" and NOT feminist! :)

[equanimus]

as subtle as a sledgehammer:D

Unless enacted by well-groomed actors, acting is uniformly atrocious in Bharathiraja's films. In KB's films, acting may be over the top, but often it's very effective.) And atrocious is an understatement :-) Some of his films make me lose respect for the other ones. Somehow I don't feel that way with KB. His post stage-transfers but still b/w period had many good films.

I thought I might ruffle some feathers when I wrote 'atrocious.' :) Now that I've company, I only feel I've to prod further on general principle. The acting is so juvenile and stupid, and I think Bharathiraja has a definitive part in it. Some of the worst performances of Revathi, Radhika etc. (why, probably even Sudhakar) have come from Bharathiraja's films. That is to say, with no "direction," probably they might have done better. Ha ha, but seriously, to pan and fry Bharathiraja is not my intention, but when he's placed in a pedestal among the greatest of Tamil cinema, I only feel it's my duty to dissent (like Nakkeeran of thiruviLaiyAdal would say).

[thilak4life]

I'd say somewhere between disappointing and repulsive. One source of irritation is the look-mom-I-am-so-different kind of characterization. The characters are strong and different and face problems with a heavy dose of self-conscious puratchi.


Adhennavo unmaiye thaan. But regarding "puratchi" - BR's films are often the worst kinds when we look back, with the characters being taken for an elementary education. Phew.. :oops:

[equanimus]

his contrived ways of handling 'em in different situations are often repulsive. I'd say somewhere between disappointing and repulsive. One source of irritation is the look-mom-I-am-so-different kind of characterization. The characters are strong and different and face problems with a heavy dose of self-conscious puratchi.

Even during Thilagam's introduction in NN we hear the voice-over: "ivaL oru vithyAsamAna guNachchiththiram" :evil:

I wholeheartedly agree. Like I had mentioned in my post yesterday (when discussing the A-trilogy), the way the protagonist's "doom" is contrived in his films are off-putting. The strongest influence one can sense here is Bharathi who was always concerned about how a nallathOr veeNai is thrown into the mud. But again, like Bharathi, he's not being subversive at all. While an avaL appadi thAn or a kAdhal -- both of which I rate infinitely higher -- subtly leave the possibility of a subversive reading open, KB's films unreservedly rebuke the society for what it has made of the veeNai.

[P_R]

Some of the worst performances of Revathi, Radhika etc. And sometimes their best too. They make a great pair in the couple of scenes in Tajmahal.
Your first statement nails it. Unless the performers themselves are good and carry it off, BR fails miserably and what's worse and scarier, doesn't realize it.

Nice point about NallathOr veeNai. The lovely poetic arogance about that is the line "ennai sudar migu aRivudan padaithu vittAi".
Being painfully aware has a sort of superior ring to it. While the poem is lovely, a 'social' film with this kind of attitude is very irritating (unless you are ...:-) ).

The kind of helplessness - "vallamai thArAyO ? :-) and solution-free ending in AvaL AppadithAn and Kaadhal are exactly what make it all the more haunting. Somehow Avargal, though quite a sensible film and ending, didn't feel that way.

BR's endings always remind me of Vadivelu's line in Winner: "opening ellAm nallA thAn irukku.......aana pinising sariyillayEppA".

Even the much acclaimed ending of En Uyir ThOzhan seemed to suggest a 'solution' though BR's v-o goes: "vidai thandhaal vidiyumA, vidindhaal vidai varumA ?"

[Roshan]

as subtle as a sledgehammer:D

Unless enacted by well-groomed actors, acting is uniformly atrocious in Bharathiraja's films. In KB's films, acting may be over the top, but often it's very effective.) And atrocious is an understatement :-) Some of his films make me lose respect for the other ones. Somehow I don't feel that way with KB. His post stage-transfers but still b/w period had many good films.

Aha !! I am kind of :boo: and :D after reading this. Enakku mattumthAn ippadi thOunuthunnu nAn konjam 'adakki vaasichittu' irunthEn but great to see some similar thoughts.

And what equanimus said about Revathy, Radha, Radhika et al (mind you, they are some of the decent actresses of TF Industry) in BR films is very true. Song sequences and some parts in movies like MaN vaasani, Mudhal Mariyaadhai, NiRam mARAtha pookkaL and all makes me :evil: and :rotfl: mostly. But avar style-a ippavum mAthuRathA illa Eg: Kadal PookkaL, and that Priya Mani starrer movie ( unable to recollect the name, but I dont think it deserves :P )




Even during Thilagam's introduction in NN we hear the voice-over: "ivaL oru vithyAsamAna guNachchiththiram" :evil:

Haha never expected this much of a 'reflex' Prabhu :lol:

[equanimus]

as subtle as a sledgehammer:D

Unless enacted by well-groomed actors, acting is uniformly atrocious in Bharathiraja's films. In KB's films, acting may be over the top, but often it's very effective.) And atrocious is an understatement :-) Some of his films make me lose respect for the other ones. Somehow I don't feel that way with KB. His post stage-transfers but still b/w period had many good films.

Aha !! I am kind of :boo: and :D after reading this. Enakku mattumthAn ippadi thOunuthunnu nAn konjam 'adakki vaasichittu' irunthEn but great to see some similar thoughts.

And what equanimus said about Revathy, Radha, Radhika et al (mind you, they are some of the decent actresses of TF Industry) in BR films is very true. Song sequences and some parts in movies like MaN vaasani, Mudhal Mariyaadhai, NiRam mARAtha pookkaL and all makes me :evil: and :rotfl: mostly. But avar style-a ippavum mAthuRathA illa Eg: Kadal PookkaL, and that Priya Mani starrer movie ( unable to recollect the name, but I dont think it deserves :P )

Roshan,
Glad that I triggered it. :P

Many contemporary Tamil film aficionados in the process of stressing visual storytelling (I concur with that notion for sure) and suchlike place BR on a higher pedestal than KB. But I beg to differ. One, I find the content of KB's films much superior to that of BR's.

Two, KB was not really a slouch in visuals either -- from mid-70s, the typical over-the-top-ness and trademark fetishes notwithstanding (remember the longdrawn close-up of one character in the profile filling up half the screen and the full face of another character in the background?). Again, an abUrva rAgangaL is shot superbly (in black-and-white). It won the national award for cinematography that year.
Not that I find BR visually unimpressive, but his aesthetics were not as much a "new wave" as Mahendran's or Balu Mahendra's were. In fact, he derived a lot from Balachander. His mise-en-scene is path-breaking (even though he was actually "showcasing" it), but his visuals are, at times, gaudy, crude and over-the-top (the last is of course out of KB's influence). That said, BR was quite an original. The quick cuts jumping back and forth in time was his brainchild for all practical purposes, but then he overused it till it turned putrid.

[thilak4life]

Mudhal Mariyaadhai had an exception with Radha, who is a good-for-nothing in my books, really overperformed than what she is capable of..

[thilak4life]

Regarding the "visual" style - I personally prefer Mahendran's to BR's from around the same time frame - that is a "Mullum malarum" with Balu mahendra's DP work was even more impressive..

[Punnaimaran]

1. Alex Pandian - 3 Mudichi
2. Palakkattu Madhavan - Andha 7 Natkal
3. Amavasai - Amaidhipadai
4. Parattai & Chappani - 16 Vayadhinile
5. Pulikesi - Imsai Arasan 23m Pulikesi

[Roshan]

Roshan,
Glad that I triggered it. :P

You are yet to see the consequences I guess :P :wink: (WRT both KB and BR :wink: )



Many contemporary Tamil film aficionados in the process of stressing visual storytelling (I concur with that notion for sure) and suchlike place BR on a higher pedestal than KB. But I beg to differ. One, I find the content of KB's films much superior to that of BR's.

POINT !! :thumbsup: On any day, KB is miles ahead in terms of content compared to some so called 'Biggies' :)



Two, KB was not really a slouch in visuals either -- from mid-70s, the typical over-the-top-ness and trademark fetishes notwithstanding (remember the longdrawn close-up of one character in the profile filling up half the screen and the full face of another character in the background?).

Yes :lol: I have mentioned this elsewhere in this hub before. Most irritating camera angle and he continued with it even in his Telefilms and serials.



Again, an abUrva rAgangaL is shot superbly (in black-and-white). It won the national award for cinematography that year.
Not that I find BR visually unimpressive, but his aesthetics were not as much a "new wave" as Mahendran's or Balu Mahendra's were. In fact, he derived a lot from Balachander. His mise-en-scene is path-breaking (even though he was actually "showcasing" it), but his visuals are, at times, gaudy, crude and over-the-top (the last is of course out of KB's influence). That said, BR was quite an original. The quick cuts jumping back and forth in time was his brainchild for all practical purposes, but then he overused it till it turned putrid.

Nothing more can be said :clap: :clap:

[Billgates]

[tscii:8948f8ec87]Hi all

Sivaji Ganesan has played some wonderful characters :

Parasakthi – Speaks volumes

Padikadha medhai

Pasa malar

Pudhiya paravai

Thanga padhakkam

Gauravam

Andha naal

No need to mention why these characters are so great. They speak for themselves.
[/tscii:8948f8ec87]

[equanimus]

Some of the worst performances of Revathi, Radhika etc. And sometimes their best too. They make a great pair in the couple of scenes in Tajmahal.
Your first statement nails it. Unless the performers themselves are good and carry it off, BR fails miserably and what's worse and scarier, doesn't realize it.

Prabhu Ram,
Yes, it was not without a reason I put it that way! :) And, you're right. That's why I said, "some of the worst performances of these actors" come from his films. By the time Taj Mahal was made (I don't think I've seen the scenes you're talking about though), Revathi and Radhika must have known better than listen to him. :D And, I agree again when you say that the worst part is he doesn't even realize it!


BR's endings always remind me of Vadivelu's line in Winner: "opening ellAm nallA thAn irukku.......aana pinising sariyillayEppA".

Even the much acclaimed ending of En Uyir ThOzhan seemed to suggest a 'solution' though BR's v-o goes: "vidai thandhaal vidiyumA, vidindhaal vidai varumA ?"

*nods aggressively* And, less said about his puratchigaramAna padangaL, the better. pudhumai peN is an offence, an assault on women liberation, en uyir thOzhan is simply naive.

[thilak4life]

pudhumai peN is an offence, an assault on women liberation

:lol: :exactly:

[thilak4life]

Regarding "Solutions", BR's films are often simplistic, and elementary - that it's a shame that he is rated highly for this. KB on the other hand rarely deals with socio-political themes directly, even if he did, he blames the system.

[equanimus]

The kind of helplessness - "vallamai thArAyO ? :-) and solution-free ending in AvaL AppadithAn and Kaadhal are exactly what make it all the more haunting. Somehow Avargal, though quite a sensible film and ending, didn't feel that way.

Exactly. That is why I infinitely prefer such films to the moralising vehicles of KB. By the by, that's a very nice point about the line "vallamai thArAyO?". It is a helpless cry indeed. On that note, varumaiyin niRam sivappu is the KB film which touches the Bharathi-vein in the most appropriate manner (including that helpless cry).

While KB invariably moralises and passes a judgement on the society when his protagonists have "a tragic ending" (it's clear where his sympathies lie), these films portray the helplessness of it all, the coldness of their lives (of both parties).

For all the shortcomings one may find in KB's women-centric films (and I find a lot myself!), at least he unfailingly represented the woman as a full being (with all quirks and idiosyncrasies) in his films. In an abUrva rAgangaL, it's not just about Prasanna. It's also about Bhairavi, she also falls in love with him. In a varumayin niRam sivappu, Sridevi (the name of her character beats me) has a dream sequence in which Rangan visits her house when she is half-dressed (there are two versions to this and Rangan reacts differently in each). This representation is itself very significant to Tamil cinema even though the films were a far cry from being ideologically coherent (read feminist). And after all, what coherence one can expect from a filmmaker like KB, so twisted in his morality, dishing out films with whimsical plots and offering as many solutions as (or even more than) the number of films he made? :)

An avaL appadi thAn is a ground-breaking film, but it should also not be forgotten that it works best when viewed in the lineage of KB's films; in the sense that it "updates" those films (which were at best so-so to my mind) to the way they must be.

I wonder why the same critics didn't have anything to say about the denouement of avaL appadi thAn if at all they viewed it through the same prism as they did with KB's films. Not only is the protagonist "denied" (by the society or the author?), but the men who "cop out" of her life are portrayed as "normal men," one of them -- Kamal -- is even a heartfelt liberal. Wait, there's more. As the film draws to its end, Manju remarks that Saritha (the name of her character beats me), the unsophisticated, coy wife of Arun, is taking a "safe" position ("romba safe'aana answer!" she remarks). And, to top it all, the two sides of the coin to the film's title. Now if this isn't cold, cynical and subversive, I don't know what is.

That said, I'm very much willing to change my perspective on this if those critics cared to elaborate further on their point. I'm no KB fan, in fact, I must admit that I've bashed him up more than praise him. :)

[Roshan]

pudhumai peN is an offence, an assault on women liberation

:lol: :exactly:

:D

[ramsri]

But avar style-a ippavum mAthuRathA illa Eg: Kadal PookkaL, and that Priya Mani starrer movie ( unable to recollect the name, but I dont think it deserves :P )


Would KangaLal Kaidhu Sei be the name you're looking for??

Remember watching about 20 mins of this one on TV sometime back and I can tell you - it's the kind of experience that makes you want to seriously consider putting yourself up for the loony bin :evil:

I really wonder what it takes for a filmmaker to draw such performances from his actors... :shock:

Also vaguely recall a review of this flick in a tamizh magazine (dont remember which one) which carried the headline Bharathirajavai kaidhu sei :lol:

[crajkumar_be]

Also vaguely recall a review of this flick in a tamizh magazine (dont remember which one) which carried the headline Bharathirajavai kaidhu sei :lol:
:rotfl:
How can one forget Priya Mani drilling a hole into the hero's chest with her head like unscrewing a bottle cork in a song ("Thee kuruvigal" or somehting) :lol:

[Roshan]

Also vaguely recall a review of this flick in a tamizh magazine (dont remember which one) which carried the headline Bharathirajavai kaidhu sei :lol:
:rotfl:
How can one forget Priya Mani drilling a hole into the hero's chest with her head like unscrewing a bottle cork in a song ("Thee kuruvigal" or somehting) :lol:

One of ARR's best numbers. Antha pAttAvathu urupadiyA irukkumgra nappAsaiyil poRumaiyA padatha pAthuttu irunthEn ( Indiya tholaikaatchigaLil) - but vaazhkaiyE veRuthuduchu :banghead:

Yes Ramsri - It's 'KaNgaLaal Kaithu Sai" - Thanks :)

[crajkumar_be]

Yeah, the picturization of the songs in the movie was rank bad, along the lines of Ninaivellam Nithya...

[joe]

NadigaVel MR Radha in Ratha Kaneer

Here is 'Oru Paanai Sotrukku oru soru patham'
http://youtube.com/watch?v=lNOOHWKCk-A&feature=related

[Raikkonen]

NadigaVel MR Radha in Ratha Kaneer

Here is 'Oru Paanai Sotrukku oru soru patham'
http://youtube.com/watch?v=lNOOHWKCk-A&feature=related

i watched the movie on saturday, only last 30 minutes.. he was tremendous.. but i tought it was very difficult to show sympathy to him cause he was banging everybody even when he wasnt healthy...

[joe]

NadigaVel MR Radha in Ratha Kaneer

Here is 'Oru Paanai Sotrukku oru soru patham'
http://youtube.com/watch?v=lNOOHWKCk-A&feature=related

i watched the movie on saturday, only last 30 minutes.. he was tremendous.. but i tought it was very difficult to show sympathy to him cause he was banging everybody even when he wasnt healthy...

That is the character ..he didn't seek sympathy ..Even in the climax he requested his friend to put a statue of him in city centre ,so that people can spit on him and it can be an example how a man shouldn't be.

[Raikkonen]

Ya, that was a great role..

[Shakthiprabha.]

( I have loved/admired so many characters on tamizh film screen... would recollect one char per day )

KARTHIK in mouna raagam :D :P

[Shakthiprabha.]

"Neelambari" (ramya krishnan) in
padaiyappa.

(Its a char which shook me)

[Shakthiprabha.]

Ah this is gonna be an autonomous thread, dominated and visited only me I guess.

Does not matter.

__

Radha

RAdha, Ive always found, portrays pride, ego, and ARROGANCE really well.

Basically I love to see arrogance in women, as a spectator.
(i.e I love it, Only when the said woman IS NOT associated with me :D :oops: )

Loved her character in

Amman Koyil KizhakkalE

[Shakthiprabha.]

Vijayan in uthirip pookaL

A man whom NO WOMAN would dare like to marry.

Wonderful and unique character portrayal!

[littlemaster1982]

Selvam (Kishore Kumar) in Polladhavan :thumbsup:

[Shakthiprabha.]

Sripriya's manju character in

AvaL appadith thaan

___

Its a char of EVERY WOMAN who feels she is free to voice her opinion boldly... also

Its a char suppressed inside every woman but does not venture out for the fear of society.

Sripriya is awesome in showing the INDIFFERENCE in her attitude.

:clap:

[Shakthiprabha.]

"Sarojadevi" in

THAMARAI NENJAM

Though the char takes a lift from the beginning, she falls down tremendously with a flop decision she makes by committing suicide.

A CHARACTER portrayed as so intelligent and brillaint FAILS in our eyes so badly in the climax, and gives life to the artist SAROJADEVI.

[kamath]

Ajith in Ji

The transformation from a college student to an adult is amazing.

[raaja_rasigan]

AC PANNEER SELVAM - Sathriyan (vijayakanth)

- the most liked by me in his films

[Shakthiprabha.]

Rajnikant in 6il irunthu 60 varai

A normal man's simple real-life char :thumbsup:

[kamath]

Vijay in Pokkiri.

From rowdy to police inspector - Subtle transformation.

[lovedeva_pj]

Sarojadevi in Thamarainenjam

Her performance from start (when she enter gemeni home) to end excellet.
In climax with nagesh and children made her life credit to her

Sivaji in Bagapirivenai
As a handycap character performance excellent and made credit as a national level, later this character done by one hindi actor but he fails to compete with sivaji

Rajeni 6to 60

[raaja_rasigan]

Vijay in Pokkiri.

From rowdy to police inspector - Subtle transformation.

:lol:

(neenga edha nenachu type panneengalo, enakku sirippudhan varudhu)

[Shakthiprabha.]

Loved

Vanishree's char in

nallothoru kudumbam...

A char with Enourmous amount of self-esteem . An ego which destroys HERSELF and not OTHERS.

[kamath]

Ajith in citizen.

The speed with which he changes roles & his superb dialogue delivery in the climax.

[cyouinme]

Alex pandian

[Shakthiprabha.]

Bharathi in

avaLukkendru oru manam

Very very very very pathetic :(

[Nerd]

Erode shivagiri - summA seeppaalEyE seeviduvEN seevi. No no I am not kidding, this is one of Rajini's best *characters* ever !

[dinesh2002]

Ramya as Neelambari [Padaiyappa]

Ramya as Goddess Amman [Amman/Ammoru]

[kamath]

mohan in udayageetham.

Padam muzhukka mike pudichikitu ninnadhu.

[Shakthiprabha.]

Prathap pothan in

paneer pushpangaL

Cooooooooool char! Some one who inspires and pass on positive vibes

[raaja_rasigan]

Yemadharmaraja - Goundamani
Chithiraguptan - senthil

lovely comedy from these two

[P_R]

Yemadharmaraja - Goundamani
Chithiraguptan - senthil

lovely comedy from these two

kanavu palithadhE hai hai kanavu palthadhE :rotfl:

[P_R]

silpA kumAr
Edho OscAr-aam adhai naan vaangiyE aagaNumnu ivangellAm adam pidikkiraanga

royal rAmasAmy
vaazhga makkaL...vaLarga maNamakkaL

daydreamer KottaichAmi
adhu enna dA thalaila keeriPPiLLai paduthirukku ?

pannikkutti rAmasAmy
deliket posishan

[raaja_rasigan]

pannikkutti rAmasAmy
deliket posishan

ultimate gounder classic :lol:

[littlemaster1982]

daydreamer KottaichAmi
adhu enna dA thalaila keeriPPiLLai paduthirukku ?


My favorite :rotfl: :rotfl: :rotfl:

[Shakthiprabha.]

Sarojadevi in

ARASA KATTALAI

[dinesh13284]

Basha... Maanic Baasha............. tutu toooooooooo...

[atqsar72]

KALI (Rajini) - In MULLUM MALARUM..

PRATHAP Character - in Varumayin Niram Sigappu

Arun (Kamal) - in Michael Madhana Kamarajan

AATHI NARAYANAN (Kamal) -- in Kuruthi Punal..

[bingleguy]

The one n only Barrister Rajinikanth (Sivaji Ganesan) :-) :thumbsup: